關於 lost in the rhythm lyrics ，我們在網路上蒐集到這些相關的討論、資訊與評價

(English and lyrics below)

明けましておめでとうございます！動画をアップするのがかなり久しぶりになりました。加えて、昨夏、予期せず水泳しちゃったとき（つまり「カヌー転覆事故」）に、いつも使っていたビデオカメラが他界してしまったので、新しいカメラを購入して画質の向上を図ってみましたが、いかがでしょうか。

2019年の初動画として、あいみょん「君はロックを聴かない」を英語で歌ってみました。この歌の解釈については、ある男性の視点から描かれたストーリーで、好意を寄せている年下の女性に対し、青春の頃聴いていた音楽やレコードを紹介する形で、お互いの距離を縮めようと努力する恋愛をイメージして訳しました。Enjoy♪

Hello all! It's been a while since I've uploaded a video, but I'm back for the new year and with a new camera to boot, since the other one met its untimely demise during an accidental evening swim (i.e. canoeing incident).

I'm starting the year with an English version of "Kimi wa rokku wo kikanai" (You don't listen to rock) by female Japanese singer-songwriter Aimyon, who gained a lot of popularity last year and appeared for the first time on Kohaku (popular Japanese end-of-year music program) this year. It wasn't with this particular song, but this one is apparently the fan favorite, which I can certainly understand. I plan to get to some of her other songs as well.

This song is from the perspective of a man (which is common for Aimyon) who is introducing a younger love interest to the music that he grew up with, hoping that it will bring them closer together.

Enjoy!

～♪～♪～♪～♪～♪～
歌詞／LYRICS
～♪～♪～♪～♪～♪～

You look a little lonely and a little blue
Come here and let me play this song for you
Follow my lead and clap in time
To this simple little surprise
I’ll give it everything that I have

Upon the dusty record spinning round and round
Lost dreams from long ago are dancing now
I drop the needle with a solemn touch
You don't need to hold your breath so much
Come over and have a seat with me

The rhythm of my youth with a warm pleasant crackle starts to play
And we can dance to the cool and laid back melody

And even though I know that rock-n-roll ain’t what you listen to
I just want for you to grow a little closer to me
Even though I know that rock-n-roll ain’t what you’re used to hearin’
These old tunes are the ones I know, melodies that helped me grow
Saw me through the aches and joys of love

My heart is palpitating in time with the beat
A steady BPM of 190
Can you hear it pounding loud?
Why are you smiling at me now?
Until my eyes start shifting bashfully

The rhythm of my youth carries on like everything is the same
As I look into your eyes and the air starts to change

And even though I know that rock-n-roll ain’t what you listen to
I just want for you to grow a little closer to me
Even though I know that rock-n-roll ain’t what you’re used to hearin’
These old tunes are the ones I know, melodies that helped me grow
That once upon a time I fell in love to

And even though I know that rock-n-roll ain’t what you listen to
I just want for you to grow to love me like I love you
Even though I know that rock-n-roll ain’t what you’re used to hearin’
These old tunes are the ones I know, melodies that helped me grow
And now that make me ache with love again

君はロックなんか聴かないと思いながら
kimi wa rokku nanka kikanai to omoi-nagara
少しでも僕に近づいてほしくて
sukoshi demo boku ni chikazuite hoshikute
ロックなんか聴かないと思うけれども
rokku nanka kikanai to omou keredomo
僕はこんな歌であんな歌で
boku wa kon'na uta de an'na uta de
恋を乗り越えてきた
koi wo nori-koete kita
恋を乗り越えてきた
koi wo nori-koete kita

https://youtu.be/vZGc1_u_H7o

今天要分享的是：Air Supply - Making love out of nothing. 祝大家有個美好的早晨！Sing and learn....大家仔細看 不難^__^
I know just how to whisper
And I know just how to cry
I know just where to find the answers
And I know just how to lie
I know just how to fake it
And I know just how to scheme
I know just when to face the truth
And then I know just when to dream
And I know just where to touch you
And I know just what to prove
I know when to pull you closer
And I know when to let you loose
And I know the night is fading
And I know the time's gonna fly
And I'm never gonna tell you everything I've gotta tell you
But I know I've gotta give it a try
And I know the roads to riches
And I know the ways to fame
I know all the rules and then I know how to break 'em
And I always know the name of the game
But I don't know how to leave you
And I'll never let you fall
And I don't know how you do it

Making love out of nothing at all
Out of nothing at all, out of nothing at all
Out of nothing at all, out of nothing at all
Out of nothing at all
Making love out of nothing at all

Everytime I see you all the rays of the sun are
Streaming through the waves in your hair
And every star in the sky is taking aim at
Your eyes like a spotlight
The beating of my heart is a drum, and it's lost
And it's looking for a rhythm like you
You can take the darkness from the pit of the night
And turn into a beacon burning endlessly bright
I've gotta follow it 'cause everything I know
Well, it's nothing 'til I give it to you
I can make the runner stumble
I can make the final block
And I can make every tackle at the sound of the whistle
I can make all the stadiums rock
I can make tonight forever
Or I can make it disappear by the dawn
And I can make you every promise that has ever been made
And I can make all your demons be gone
But I'm never gonna make it without you
Do you really want to see me crawl
And I'm never gonna make it like you do

Making love out of nothing at all
Out of nothing at all, out of nothing at all
Out of nothing at all, out of nothing at all
Out of nothing at all, out of nothing at all
Out of nothing at all, out of nothing at all
Out of nothing at all, out of nothing at all
Out of nothing at all, out of nothing at all
Out of nothing at all, out of nothing at all
Out of nothing at all
Out of nothing at all, out of nothing at all
Out of nothing at all, out of nothing at all

Songwriters: JIM STEINMAN
Making Love Out Of Nothing At All lyrics © CARLIN AMERICA INC

Nobody’s Fool　　( January 2011 )

Yoshitomo Nara

Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.

It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.

But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.

While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.

As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.

In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.

Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.

Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!

I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.

Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.

By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.

After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.

And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.

Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.

But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.

The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.

Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.

After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.

Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.

After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.

I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….

ご視聴ありがとうございます！
English comment is after Japanese.

秦基博さんの「デイドリーマー」をカバーさせていただきました。
この曲は5thアルバム「青の光景」に収録されています。
大東建託のCM曲（2015年）にも採用されていました。

コードがくっていたり、逆に、メロがくっていたりと、ストロークのタイミングが難しい箇所もありますが、基本のリズムを意識して練習すれば、弾き語れるようになると思います。
（ちなみに「くう」の正式な音楽用語は「アンティシペーション（先行）」と言うそうです）
あと、Cメロ(02:46-03:10)のキーが高いのはわかってはいたんですが、考えていた以上に声が出なくて、思った通りに歌えませんでした💦
加えて、今回はハモりもリードもありません。。。💦💦

拙いカバーですが、この動画が皆さんのカバーのご参考になれば幸いです。

※原曲はこちら！
https://youtu.be/-f6gl_qTW24

*-*-*--*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*
Thank you so much for watching!

I did a cover of "Daydreamer" by Motohiro Hata.
This is included in 5th album "Ao no koukei(The sight of blue)".
Also, this was a commercial song of "Daito Kentaku" in 2015.

There is an anticipation of some chords, on the contrary, there is an anticipation of melody, too.
So, in some part of stroke timing is difficult, however, I think that you'll be able to play if you practice to be aware of basic rhythm.
Also, I well understood that bridge's key is high(02:46-03:10), but I lost my singing voice than I thought, so I could not sing well💦
Additionally, in this time, there is no chorus and lead guitar...💦💦

Although my unskilled cover, I hope this video will help for your guitar cover.
Thanks my friends!

*The original song is here!
https://youtu.be/-f6gl_qTW24
*-*-*--*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*

#秦基博 #デイドリーマー #青の光景

明けましておめでとうございます！動画をアップするのがかなり久しぶりになりました。加えて、昨夏、予期せず水泳しちゃったとき（つまり「カヌー転覆事故」）に、いつも使っていたビデオカメラが他界してしまったので、新しいカメラを購入して画質の向上を図ってみましたが、いかがでしょうか。

2019年の初動画として、あいみょん「君はロックを聴かない」を英語で歌ってみました。この歌の解釈については、ある男性の視点から描かれたストーリーで、好意を寄せている年下の女性に対し、青春の頃聴いていた音楽やレコードを紹介する形で、お互いの距離を縮めようと努力する恋愛をイメージして訳しました。Enjoy♪

～♪～♪～♪～♪～♪～
曲情報 / SONG INFO
～♪～♪～♪～♪～♪～

あいみょん／君はロックを聴かない
2017年リリース
作詞曲： あいみょん
日本語詞：渡辺レベッカ

～♪～♪～♪～♪～♪～
リンク / LINKS
～♪～♪～♪～♪～♪～

■HP⇒ http://BlueEyedUtaUtai.jimdo.com
■Facebook⇒ http://facebook.com/blueeyedutautai
■Twitter⇒ @BlueEyedUtaUtai

～♪～♪～♪～♪～♪～
歌詞／LYRICS
～♪～♪～♪～♪～♪～

You look a little lonely and a little blue
Come here and let me play this song for you
Follow my lead and clap in time
To this simple little surprise
I’ll give it everything that I have

Upon the dusty record spinning round and round
Lost dreams from long ago are dancing now
I drop the needle with a solemn touch
You don't need to hold your breath so much
Come over and have a seat with me

The rhythm of my youth with a warm pleasant crackle starts to play
And we can dance to the cool and laid back melody

And even though I know that rock-n-roll ain’t what you listen to
I just want for you to grow a little closer to me
Even though I know that rock-n-roll ain’t what you’re used to hearin’
These old tunes are the ones I know, melodies that helped me grow
Saw me through the aches and joys of love

My heart is palpitating in time with the beat
A steady BPM of 190
Can you hear it pounding loud?
Why are you smiling at me now?
Until my eyes start shifting bashfully

The rhythm of my youth carries on like everything is the same
As I look into your eyes and the air starts to change

And even though I know that rock-n-roll ain’t what you listen to
I just want for you to grow a little closer to me
Even though I know that rock-n-roll ain’t what you’re used to hearin’
These old tunes are the ones I know, melodies that helped me grow
That once upon a time I fell in love to

And even though I know that rock-n-roll ain’t what you listen to
I just want for you to grow to love me like I love you
Even though I know that rock-n-roll ain’t what you’re used to hearin’
These old tunes are the ones I know, melodies that helped me grow
And now that make me ache with love again

君はロックなんか聴かないと思いながら
少しでも僕に近づいてほしくて
ロックなんか聴かないと思うけれども
僕はこんな歌であんな歌で
恋を乗り越えてきた
恋を乗り越えてきた

Watch Alternate Ending here: http://youtu.be/tkTZ6LlSu-4
Order "Gravity" LP at http://www.jasondchen.com

Please support me by getting this track on iTunes/Google Play!
http://bit.ly/jasonchen (Please rate and leave a review!) =)
http://bit.ly/JasonChenGooglePlay

For international downloads, or if you want to donate toward my next project get this track on bandcamp!
http://www.jasonchenmusic.bandcamp.com

Directed by The Dreamlapse Project

Check out bloopers and behind the scenes!
Day 1: http://bit.ly/GravityBTSday3
Day 2: http://bit.ly/GravityBTSday2
Day 3: http://bit.ly/GravityBTSday1

Book me for an event: jasonchenbooking(at)gmail(dot)com

- Looking for interns in Los Angeles
email resumes to JasonChenIntern(at)gmail.com





CREDITS:
Produced by: Smash Hitta
Written by: Jason Chen, Smash Hitta, Adien Lewis
Recorded by: Jason Chen

SUPPORT Scott Yoshimoto & Daniel Seo of The Dreamlapse Project
SUBSCRIBE: http://www.youtube.com/thedreamlapseproject
CONTACT: TheDreamlapseProject@gmail.com
FOLLOW: http://www.twitter.com/TheDLProject
FAN: http://www.facebook.com/thedreamlapseproject

CAST:
Jason Chen as Jason Chen
Erin Johnson as "Miss Mystery"
Anthony Min as Kid 1
John Yoo as Kid 2
Daniel Seo as Carjacker
Jonathan Wang as Mugger

CREW:
Producer: Shoushan Tavlian
Directors: Daniel Seo and Scott Yoshimoto
Director of Photography: Naveen Chaubal
Gaffer: Daphne Wu
Visual FX: Peter Pak &
1st AD/Script Supervisors: Jamie Kwak & Maria Takaoka
Production Assistants: Jonathan Wang, Richard Le, Alice Tran, Maria Takaoka
Hair & Makeup: Amy Diep & Judy Tran
Costume Designer: Valerie Nghiem
Behind The Scenes: Joshua Park & Moses Pan






LINKS:
Official website: http://www.jasondchen.com

Twitter / Facebook / Google+!
http://www.twitter.com/jasondchen
http://www.facebook.com/jasonchenmusic
http://gplus.to/jasondchen
instagram @jasondchen

I love getting mail! send me some =)

PO Box 2113
Arcadia, CA 91077





LYRICS:

[verse 1]
I'm so lost, in love
with no rhythm or rhyme
I'm starstruck, I'm so stuck
with no sense of time

I fall apart, when you're gone
I think that I need your love
Just pull me right back to start
I dont know what this could be, so lost in your mystery

[Hook]

Caught up in your Gravity
Dont know how you got such a hold on me
Caught in your Gravity
You know I never want you to set me free
Caught up in your Gravity

[verse 2]
It's just you, you're all I need
to keep my heart tied
When you're here, I wouldn't fly away
Oh no, I wont even try

We fall apart, when you're gone
I think that I need your love
Just pull me right back to start
I dont know what this could be, so lost in your mystery

[bridge]
There's no way to stop this attraction
cause baby you're my satisfaction
If you disappeared, it's like the world would fall
I would lose control so never let me go x2
Not even the flight through the galaxy
could ever keep me away from you


released 18 November 2011
Copyright 2011 Music Never Sleeps.
Recorded by Jason Chen